![]() I’ll explain the way I think through the process and then return to substitution. However, taking this approach to the tie-up doesn’t always give you the clearest sense of what you are actually doing with the weave structure, so it’s worth dealing with this stage slightly differently. We can identify the individual tie-up and treadling units for our structure the way we did for our threading and construct a complete draft. One way to think about it is as another substitution exercise. But what are the operations we will apply to those blocks to create our design? We have obtained a threading which will allow us to operate two independent blocks. Now we can turn to the second dimension of our draft. I’ll address some of the practicalities of this plain weave bonus block next time. If I had chosen to have a lace pattern on a plain weave ground, I could have woven my seven block design as a six block design. 1-2-1-2-1-2, then they will weave as plain weave no matter what pattern we use elsewhere. If we thread some areas on just those two shafts, i.e. In Bronson lace, as in several structures, shafts 1 and 2 act as a plain weave base for the threading. It’s worth stepping aside here to note that we can add a ‘bonus block’ to a lace design if we are happy that it should always be plain weave. Indeed, for more complex designs, what is ‘pattern’ and what is ‘ground’ becomes increasingly hard to define. However, the alternative of a plain weave fabric with areas of lace pattern would be a perfectly reasonable choice in another context. Example of a design used as a motif at the ends of a scarfįor the purposes of this example, I am going to develop that option. It was natural to choose plain weave as the ‘pattern’ and lace as the ‘background’ because this meant I would weave the main body of the scarf in lace rather than plain weave, creating the light summery feel that I wanted. When I wove my Highland Summer scarves, I placed my design as a motif at each end of the scarf. The ‘active’ areas in our design – those we shaded in our profile draft – could be either areas of lace or areas of plain weave, and the remaining areas will be the other option. Design decision point!īefore we move to the next step, the time has come for us to commit! We are weaving a design in lace, but there are two distinctly different ways we can do this. Yes, it really is as straightforward as that. Then we have five squares of block B, so we substitute five units of our threading for BĪnd so on until we have a completed threading: The first two squares are block A, so we substitute two units of our threading for A. We work along the profile threading, substituting one threading unit for each square in the profile draft. Now we have two distinct threading units: 1-3-1-3-1-2 for block A and 1-4-1-4-1-2 for block B. Let’s assign shaft 3 to block A and shaft 4 to block B. To keep our blocks working independently, we need to assign one pattern shaft to each block in the profile draft. Three threads out of the six are threaded on shaft 1, two threads are on our pattern shaft and the last thread is on shaft 2. P stands for ‘pattern shaft’ and will vary according the design we are creating. For each unit we will need both a threading and a lifting sequence, but we will start with the threading.įor Bronson lace the threading unit consists of six threads arranged 1-P-1-P-1-2: This is a term used to describe weave structures which are made up of small repeatable groups of threads: the minimum group of threads is called a unit. We now need to choose a weave structure, and I am going to use our affordable summer friend, Bronson lace. We have two threading blocks A and B, and let’s say we have settled on the following pattern: 2 A blocks alternating with 5 B blocks. Let’s start at the top of our simple window panes profile draft. In this post I’m going to take an approach that suits me and my way of thinking about weaves, using lace as my example. ![]() However, if you want to understand the process, then it makes sense to learn to ‘do it by hand’ whether that is on paper or on your computer or tablet. If you have a weaving software package such as Fiberworks, you can make use of the built-in tools and be done in seconds. ![]() There are several ways to tackle this step from profile draft to threading draft. Now it is time to turn our profile draft into a threading draft so we can move our idea a step closer to the loom. In my previous post I talked about block designs and how we get from a sketch to profile draft. ![]()
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